RogerEbert.com's Scores

  • Movies
  • TV
For 1,167 reviews, this publication has graded:
  • 59% higher than the average critic
  • 1% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Gett: The Trial of Viviane Amsalem
Lowest review score: 0 But Always
Score distribution:
1,167 movie reviews
  1. It is wrenching but never exploitive. It is impressively skeptical of the same mission that it takes on its shoulders: to make something positive from a senseless crime without diminishing its senselessness. This film doesn't just revisit an atrocity, it moves through it, and finds meaning in it.
    • 75 Metascore
    • 100 Critic Score
    It emerges as an artistic statement as multi-faceted, nuanced and hauntingly original as any of its fictional counterparts.
  2. Don't see this movie if you have a weak stomach, or if you don't like movies that mix horror-movie violence and cornball humor. Don't see if it you're expecting production values beyond a couple of vehicles, a farmhouse and about twelve buckets of gore. Don't see this movie if your definition of a great or classic film is one that bowls you over with the importance of its subject or the awesome scope of its vision. Do see if it you want to be be reminded that it's possible to make a relaxed, engrossing, funny, sometimes scary movie on almost no money.
  3. This is a classic film, not just because every scene and line is casually beautiful and devoid of extraneous touches, but because its tone is mercilessly exact.
  4. A brilliant science fiction movie — more of an "experience" than a traditional story, with plenty to say about gender roles, sexism and the power of lust?
  5. The best parts of it feel truly new, even as they channel previous animated classics (including the works of Hayao Miyazaki) and explore situations and feelings that everyone has experienced to some degree.
  6. True to the spirit of the original film, "Monsters Inc.", and matches its tone. But it never seems content to turn over old ground.
  7. Would the magic hold? The magic holds. It holds from beginning to end.
  8. David O. Russell out-Scorseses Martin Scorsese with American Hustle, a '70s crime romp that's ridiculously entertaining in all the best ways.
    • 85 Metascore
    • 100 Critic Score
    This is a film we’ve never seen before: Syeed explores the heart of a rarely visited landscape, and the souls of the resilient Kashmiri people. This is an amazing film.
    • 75 Metascore
    • 88 Critic Score
    Is the movie too adulatory? It is not the most subtly layered documentary I've ever seen, but these days it's no longer verboten to take a stance in docs. And there is so much to be admired about Hanna. Plus…if you've never seen some of those songs performed…it's electrifying.
  9. While I’m not a parent myself, I can see how Like Father, Like Son would be a tough sit for any parent. Tough, but extremely worthwhile.
    • 72 Metascore
    • 88 Critic Score
    Though this is a story of enormous cultural importance and dramatic power, it’s virtually impossible to imagine today’s Hollywood making a movie about it.
  10. It is an infuriating reality that The Hunting Ground exposes. I was rattled watching it, finding it hard to catch my breath and harder still to imagine how many people are in positions of power who have heard these stories so many times and turned their backs on victims.
  11. Intelligently conceived, beautifully executed and filled with surprisingly convincing performances all around... We Are What We Are is that rare horror film that could play at both arthouse and grindhouse theaters without seemingly out of place at either one.
  12. What elevates Hide Your Smiling Faces is Carbone's gentle, lyrical touch where other filmmakers would have turned the same thematic concerns into melodrama.
  13. Simply put, this is one of the craziest films to come along in a while and I can confidently say that anyone who sees it will either hail it is some kind of crackpot masterpiece or dismiss it as one of the silliest damn things they've ever seen.
    • 69 Metascore
    • 88 Critic Score
    Like classic military comedies from “Catch-22” to “M*A*S*H,” Talya Lavie’s Zero Motivation offers its own appealing blend of irreverence and absurdism.
    • 61 Metascore
    • 88 Critic Score
    Ultimately, Futuro Beach is a film about displacement and identity, love and its costs. Its considerable satisfactions, though, come mainly from the way the story is told, which spells nothing out, and in fact is so reticent that the viewer is constantly drawn into the creation of meaning.
  14. When Michell is on his game, as he definitely is with Le Week-End, he unearths small, invaluable and even profound truths about the human condition that are often as inspiring as they are devastating.
    • 68 Metascore
    • 88 Critic Score
    Given its loose-knit narrative, the film doesn’t have anything like a conventional structure. Yet it’s steadily engrossing due to Boorman’s surpassing skills as both a storyteller and a director.
  15. No, what's most disquieting about It Follows is the way it presents sex as neither abnormal, nor beneficial.
  16. This is a very good movie and perfect summer counterprogramming.
  17. Gibney crams as much material as possible into a quick two hours (he really knows how to edit and pace a piece like this one as it feels much shorter) and yet, to be fair, there’s still an angle missing just by virtue of the fact that he couldn’t get anyone from the Church of Scientology today on camera.
  18. The Cold Lands is less a story than an experience, and that, as such, anything one might say about it could be considered a spoiler.
  19. At times, Blood, feels like a slightly-filled-out television police procedural with better cinematography, but the performances have an almost Shakespearean grandeur.
  20. 7 Boxes is both a tense and frightening crime film as well as a sometimes-dreamy evocation of life in the sprawling underclass, its hallucinatory aspects, its chaos and violence, its fantasies.
  21. The movie has an organic intelligence and a sense that it, too, exists outside of linear time. It seems to be creating itself as you watch it.
  22. These documentarians masterfully construct their vision to elevate and serve their subject. The result is more low-key than one might expect from a movie about rap. It is also more powerful, bypassing the expected artist braggadocio to stand on the rarely visited street corner of sociology and hip-hop music.
  23. A very good jazz movie and a very good heroin movie, if indeed there's much practical difference between the two modes—and perhaps there isn't.

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